Der Kinematograph (October 1929)

Page scan 000123 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
October 1929
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (October 1929)
Leaf #:
000123
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Germany, Hollywood Studio System, Global Cinema, and Early Cinema
Format:
Periodicals
Contributor:
Media History Digital Library, Mikrofilmarchiv der deutschsprachigen Presse, in collaboration with Michael Cowan and the Department of Film Studies, University of St Andrews
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Germany’s first film trade journal, Der Kinematograph, played a prominent role in the film publishing landscape during the late Wilhelmine and Weimar periods and remains a key source for film historians today. The journal’s early history exemplifies the gradual emergence of cinema from the cinematograph, since it began as supplement to the popular variety journal Der Artist before becoming an independent publication dedicated to all aspects of the burgeoning film industry. As other scholars have pointed out, Der Kinematograph played an important role in the development of film criticism, especially after the ascension of Alfred Rosenthal to the position of chief editor in 1923. But it also covered a wide variety of topics from film history to technology to economic and juridical questions. The journal could also provide an interesting case study for the film politics of the Weimar period. In the early-1920s, it came under the control of the Scherl Verlag, run by the conservative media mogul Alfred Hugenberg (the Rupert Murdoch of his day), who would also acquire the UFA studio in 1927. This made it a prime target for left-wing groups such as the Volksverband für Filmkunst (Popular Association for Film Art), who saw Rosenthal and Hugenberg as key representatives of a capitalist mass media system dedicated to dumbing down the masses. In 1933, Der Kinematograph, like other film publications, was purged of Jewish colleagues, and the journal itself folded in 1935. —Michael Cowan, 2020
Date Added:
August 27, 2022
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und Olaf Föns fuhr heimlicn nach Kopenhagen, um Schauspieler zu w?rden. Doch so leicht, wie er es sich gedacht hatte, war die Laufbahn nicht. Niemand wollte uin dem jungen Mann etwas wissen. Er mußte sich anderweitig umsehen. um sein Geld zu verdienen. Oft hatte er gehungert, vor dem Nichts gestanden doch dann biß er die Zähne zusam¬ men und sagte sich: ..Du mußt durchhalten!" Und eines Tages kam das Glück. Da waren alle Hin¬ dernisse überwunden. Klein fing er an. ganz klein — als einfacher Darsteller winziger Rollen im Dagmar- Theater bekam er schließlich eine Anstellung. Zusammen mit einer anderen jungen Schauspielerin namens Asla Nielsen . . . In dieser Zeit lernte er Knut Hamsun kennen. Nach einer Trunk- und Bummclfahrl kehrten sic bei ihm des Morgens ein: der Kutscher, ihr Gast, schlief ein Hamsun geriet in Begeisterung, sprang auf einen Tisch und hielt eine Rede. Er sprach Olaf, der ihm ähnlich sah. mit ..Mein Sohn" an. Auf einmal ergriff er ein Hühncraugcnmesser und reichte es dem jungen Künstler mit den Wörter.: „Schneide dir damit alle Unannehmlich¬ keiten deines Lebens weg!“ Max Lenz.